Valentina Stieger’s recent exhibition “Good Figures” found new power in familiar ideas. Exploring a high/low dialectic that is now a well-trod path by marrying the austere forms of modernism to a kitschy domesticity evoked by quotidian household materials, her work still incites a frisson of recognition. The show’s constellation of works employed the bright or banal emblems of the hausfraupillowcases, a clothes-hanger railing, decorative plasterto more art-historically driven ends. But even if the works’ persuasive abstraction began between quotes, that is not quite where it ended.